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A LEONARDO CELEBRATION 25thAnniversarySeries In this issue of Leonardowe publish a number of contributions by members o f the Leonard0EditorialBoard in celebration of our 25 years of publication. This seriesof articleswill be continued in forthcoming issuesof thejournal. The editors were asked to contribute a text on any subject they thought would interest our readers. A s we publish these texts, I think our readers will gain a visible sense of the professional community that is Leonardo. The community that relies on Leonardo doesnot represent anywell-defined profession or singleintellectualpoint of view. Some of these editors are artists; others are scientists,engineers, curators, estheticians, scholars.Someare young, some are older. Somework in major institutions, from Western Europe to Nigeria; otherswork as independent artists or scholarsworkingfrom their own studio or home. Most members of this communityhave never met each other; there are no unique conferences, academic institutes, funding agencies or other institutionsthat address the interdisciplinaryrange of their interests. I think, however, from reading the writings of the members of the editorial board, that they share a passion first for artmakingas an essentialand necessary human activity. Their challengeis to create and make possible the arts of the future, arts appropriate for the timeswe live in. They have no truck for the “isms” of the commercial and academic art worlds. They are prepared to have artmaking take forms incompatiblewith existing art institutionsand categories. Secondly,they know that the arts,sciences and technology are united at the root of their own personal exploration and expression. Many of them, although identifyingthemselveswith one primary professional activity, exercise other professionswith equal energyand success. The mathematician is alsoa professional artist; the curator is also an expert in the psychology ofsuicide;the physicistis also a sculptor;the psychologistis a published novelist; the artist and mathematician is also a well-known science-fiction author. In a very real personal sensefor these individuals,art and science, or art and technology, are not dichotomous but rather different channels of their own searchfor knowledge and personal creativeactivity . For them, art and science share certain characteristicswhile having clear differences. Technology in their vision is clearlythe servant, not the master , of artmaking,knowing and discovering . They know that meaningful contemporaryart must acknowledge what we know about ourselvesand the universe through science and must make appropriate use of available technologies for personal expression. A non-profit publication like LRonardo belongs to and reflects the professional communityit serves. Leonardo, in spite of 25 years of publication, has never made a profit commercially. The members of the editorial board, the reviewers and the authors are all unpaid-it is their donated labor that makes thejournal possible. In turn, Leonardomakesvisible and documents the work that they feel is important. The members of the editorial board solicitarticles, act as guest editors for specialissues, review articles, suggest topics for future emphasis, and often have provided financialand political support at timeswhen the future of the journal was in doubt. As Lana& celebrates25 years of publication ,we are startinga processof renewal and redirection. We are appointing new membersof the editorialboard to help bring about these changes.We solicit the viewsof our readersto help shapeour direction. Sometopicswill clearly continue to be part of h a & s editorialscope. A r t and mathematics,for instance,have had over the centuriesimportantlinks; thesewillsurelycontinue aswe wimess the excitingnew developmentsin contemporarymathematics . Other topics that Lem& has soughtto documentwill continue to be significant,but which ones? Howwill the advances in biology and genetics-both in the scienceand engineeringaspectswithin thosefields-be manifestin the artof the future?Which computer-basedtechnologieswill prove plastic enough to become the basis for widespreadartisticactivity?What new kindsof artmakingwillgrapple effectively with social issues,from environmental catastropheto the spread ofAIDSto “ethnic cleansing”?Artists areworkingon new scalesand in new settingswith architects and public art-should h m r d oseek to document thiskind of work in particular? Whatnewinstitutionalstructureswillbe created,whateconomicmodelswillwe seefor the employmentof artists, what transdisciplinaryeducationalcurricula will evolve?ClearlyLem& cannotcover all these topics;we lookforwardto workingwith the editorialboard and our readers to definethejournal‘sfuture editorial direction. ROGER F. MALINA ExecutiveEditor Art asAdaptation Each era sportsdopey notions atwhich we wince or guffaw. The pernicious “two cultures”idea perfectlyexemplifiessuch silliness.The “twocultures”promulgates by conspicuouslypublished high-minded pompositybut, however esteemed, the vector still carries the infestation of ignorance...


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